Archives | Martin Scorsese

Since the invention of cinema, the standard format for recording moving images has been film. Over the past two decades, a new form of digital filmmaking has emerged, creating a groundbreaking evolution in the medium. Keanu Reeves explores the development of cinema and the impact of digital filmmaking via in-depth interviews with Hollywood masters, such as James Cameron, David Fincher, David Lynch, Christopher Nolan, Martin Scorsese, George Lucas, Steven Soderbergh, and many more.

Chronicles the six-decade (so far) career of the U.S. film industry’s most diverse, dogged and resourceful low-budget producer-director-entrepeneur, painting the soft-spoken Roger Corman as an indie cinema trailbrazer as well as an extraordinary conduit for new talent.

Director Martin Scorsese speaks candidly and passionately about one of his formative filmmaking influences: the late Elia Kazan. Utilizing precisely chosen clips from Kazan’s signature films including “On the Waterfront,” “A Streetcar Named Desire,” “Gentleman’s Agreement,” “Baby Doll,” “A Tree Grows in Brooklyn,” “A Face in the Crowd,” “America, America,” and “The Last Tycoon,” and interview footage of the director himself, co-directors Scorsese and Kent Jones recount the director’s tumultuous journey from the Group Theatre to the Hollywood A-list to the thicket of the blacklist. But most of all, they make a powerful case for Kazan as a profoundly personal artist working in a famously impersonal industry.

Academy Award®-nominated director Scott Hicks (“Shine”) documents an eventful year in the career and personal life of distinguished Western classical composer Philip Glass as he interacts with a number of friends and collaborators, who include Chuck Close, Ravi Shankar, and Martin Scorsese.

In 1962, François Truffaut conducted a week-long interview with Alfred Hitchcock, going through the master’s career film by film. The resulting book, Hitchcock/​​Truffaut, remains one of the most influential cinema publications ever written. It was a project of lasting importance for Truffaut: seventeen years after the book’s first publication in 1967 and just before his own untimely death, he went back and prepared an updated edition. This documentary deepens the legacy of the project, bringing in contemporary directors to discuss the galvanizing effects of both Truffaut’s book and Hitchcock’s films. [Synopsis courtesy of TIFF]

1863. America was born in the streets. In this movie, we see Amsterdam Vallon returning to the Five Points of America to seek vengeance against the psychotic gangland kingpin Bill the Butcher who murdered his father years ago. With an eager pickpocket by his side and a whole new army, Vallon fights his way to seek vengeance on the Butcher and restore peace in the area.

“I saw these movies. They had a powerful effect on me. You should see them.” That’s Martin Scorsese’s message for this documentary. We meet his family on Elizabeth Street in New York; he’s a third generation Italian with Sicilian roots. Starting in 1949, they watched movies on TV as well as in theaters, lots of Italian imports. Scorsese, with his narration giving a personal as well as a public context, shows extended clips of these movies. Films of Rossellini and De Sica fill part one; those of Visconti, Fellini, and Antonioni comprise part two. Scorsese takes time with emotion, style, staging, technique, political context, and cinematic influence. It’s his movie family.

48 hours in the life of a burnt-out paramedic. Once called Father Frank for his efforts to rescue lives, Frank sees the ghosts of those he failed to save around every turn. He has tried everything he can to get fired, calling in sick, delaying taking calls where he might have to face one more victim he couldn’t help, yet cannot quit the job on his own.

Three stories happening in New York. The first, by Scorsese, is about a painter who creates his works helped by high volume music and an attractive assistant; second, by Coppola, is about a rich and bold 12 years old who helps her separated parents to reconciliate; third, by Allen, is a witty piece of comedy about the impossibility of getting rid of the son’s role.